Run Lola Run - A formalist film

This afternoon, we watched the film 'Run Lola Run', which is a modern example of a form of formalist film making.
The film uses a formalist narrative, where the same twenty minutes are repeated three times, and in each one, subtle differences end up affecting the plot in big ways. In each scenario, minor characters also are affected by the events, with the narrative briefly showing what happens to the character through a series of snapshots.
Other formalist devices are used, one of which is the use of animation in the credits, and in the sequence where she runs down the stairs, which is the only part of the main narrative portrayed in animated form.
Another major formalist feature is the camerawork. A lot of extreme close ups are used, as well as bird's eye views and worm's eye views, the latter of which is also a point-of-view shot. One example of formalistic camerawork is the sequence where Lola throws the telephone receiver in the air, and the camera follows it, with multiple angles on it, looking up, down and on a level.
Closely related to the camerawork is the editing. Most of the transitions are jump cuts, and in one sequence, where Lola is running across the bridge, and the angle keeps changing from a side view to a front view. The film also uses split-screen at points to show what two characters are doing at the same time.
The lighting is mostly realistic, except in the scenes between each series of events, where the lighting is red. The mise-en-scene is also mostly realistic, but there is an emphasis on red objects, possibly to link to Lola's red hair, some objects being the telephone receiver, the man's bicycle, and the ambulance.